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When you're setting up cameras in modo, you don't have to work with just one camera; you can very easily set up as many cameras as you want. Why would you do that? Well, let's say you have got this beauty shot right here. Perfect for the client's product; that's what you want to do. But he also might want a shot of the handle, or a shot of one of the buttons, and instead of going and messing up this camera which took a while to set up and it's perfect and they've approved it, well, it's better to actually put a second camera in. So let's do that. I have got the 1camera file loaded from the exercise files.
You can load that up or use any product of your own. I am going to the Add Item list from the Items tab, and I am going to add a camera. It's a good idea to name these cameras, so I am going to right-click on it, choose Rename from the top of the list, and we'll call this close up, CloseUpCam. And then this one, we will right-click on it, and we'll call this BeautyCam, something like that. Now, we'll take the CloseUp camera and let's take a look down here in our large viewport. The BeautyCam is still selected. Let's change our view to see what the CloseUpCam looks like. And of course it's just sitting right in the middle of the set.
This is where these handles can come into play and I can move those around, or I can press the Y command and just manually move it around. I want this to be nice and close and while it might be a little bit of trouble to move it here, let's go to the Display tab and bring the Size down. For the other one, we set it to 0 so it stays relative to our scene. But this one, we're actually going to shrink it down so it makes it a lot easier to move around. Remember, the Size is literally just a display; it has nothing to do with the render. Okay, so back to the Y command.
Now I can zoom in here a little bit and just rotate this around. And now we can do a nice close-up of these buttons, perhaps seeing the client logo or something like that. But let's get even closer, and the way I am going to do that is with the zoom. So go back to Properties and the Focal Length is at 50 mm, so let's just zoom in like this, move it down just a little bit--just keeping the client logo in. So now we've got that CloseUp camera, but for this camera, maybe we want to put a little depth of field on to really help that realism.
Well, two things have to happen to do the depth of field. I am going to press the Y key, and you'll see that with this Transform command on, I get my focus. It's right there. It's that little blue dot. So let's move that dot so that it's hitting the buttons right there. We want that focus to be right there. You can see if I pull it through, it becomes kind of faded. When it comes out, it gets stronger in brightness. That way, I know exactly where it is. It's right there. You can even see it here too. So with this CloseUp camera, how do you do depth of field? Well, if you go down to Camera Effects, Depth of Field is right there. Just turn it on.
But I can't see it yet, I am still rendering from the beauty camera. How do I change that? Well, let's jump to the Shader Tree, select Render. And the Render Camera is set to BeautyCam. Let's change that to CloseUpCam, and now you can see this is rendering out, and you can see depth of field. I have to tell you I never did depth of field much before, because it was honestly a little bit of a trouble to set up. It didn't quite always work the way I wanted. In modo 501 they've really improved it and simply by turning it on and not doing anything else, we're all ready getting the look that we want. Very easy to do! You can enhance this still, by coming to Close Up > Camera Effects and play with the F-Stop, the Iris Blades, and the Edge Weighting.
So I am going to bump this up to F-8, which means I will get a little bit sharper image throughout, not quite as much depth. If I widen this F stop, meaning, I make it smaller, like F-2, I have a much greater depth of field. And you can see it's just focusing right here and instantly falling off. Now remember, this blue dot is our focus point, okay? So it might be a little too much for this, so F-8 is where I want this to be. You'll also see Autofocus, and you can hit that, depending on where you want that focus to be. I think we set it pretty close manually but hit Autofocus, a lot of times modo will do a good job of just lining that up for you.
So I'm back to F-8. The Iris Blades, not going to help much in this one, but let's say you have a larger scene, maybe a street scene, and you've got lights in the background, and you've got bright colors on one side and dark colors on the other; those Iris Blades are going to help blend all of that together, as well as the rotation. The Edge Weighting, if I turn that off, you can see here that it actually just helps blend that in a little bit better. If I bring it on to maybe 100%, we get a little bit more blur in the edges there. And let's press F9, see what our render looks like.
Now, this might take a little bit longer to render, simply because we're doing high definition at 1920x1080. We also have Global Illumination on. We have that Lightboard Balancing, and we have Depth of Field on. Now, the render quality can certainly be increased with a number of different settings in the Render panel. We've not set any of those yet, and the reason you would would be anti-aliasing for smoother edges, and as well as the blur up here. See how that's just kind of not blurring enough? It looks like it's just separated.
Those are different things we can set when we do higher quality renders. But for right now this depth of field is actually looking pretty good, and you can see that it's a little more realistic. Typically, when you have effects like volumetrics and depth of field and 3D, they kind of get overdone, as do lens flares and things like that. And in the real world, those things aren't quite as strong as you might think. And it's just subtle, just a little bit of depth of field, and it just helps create that realism that we're after. All right! So here is pretty much the final render. It took about three minutes to do, and you can see that the depth of field is working really well.
All we need to do is just up the quality, so that all of this blurs even better. Right now, it's just separating. But just as a default, it still looks really good. Easy to do: close-up camera, hit the Autofocus or move it manually, turn on Depth of Field, set the F-Stop, and you're good to go. Let's close that. Now, if I take the Iris Blades and I add eight of them, and then I play with the Rotation about maybe thirty degrees, what that's going to do is actually blend these a little bit better. That's one aspect of helping a cleaner render.
The final would actually be more in the render settings, and we're going to do that when we get to rendering. So we're going to save this scene as Depth of Field. We'll load that up later, and you can actually take a look at it from the exercise files, and I will show you how to make a cleaner render. Finally, when we go to Shader Tree, and then we can come up to the Render, and then choose BeautyCam, we can choose which camera we want to work with, whether it's the BeautyCam or the CloseUpCam. And it's a very, very nice way to work. You can set up multiple cameras. You don't have to do just one or two; you can do as many as you want.
So I've used these for forensics. I've used them for accident recreation. There's a camera that's locked to a car driving on a road. There's a camera that is focusing on one perpetrator, one is focusing on one police officer, and you can simply render out each one of those and switch between them in an edit. It's a great way to work, setting up multiple cameras, and it makes it more flexible in the backend when you're doing your final renders.
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